The COMPOSITE-BEAM program performs design of composite beams according to: ENV 1994‑1‑1:1992‑10. The program is based on bidirectional communication between RSTAB and the add‑on modules. However, an RSTAB license is not required for using COMPOSITE‑BEAM (stand‑alone operation is possible).

"Didn't He Ramble" is the second solo outing from acclaimed singer songwriter Glen Hansard. The new album is his first in over three years and follows 2012's solo debut "Rhythm & Repose", which Billboard hailed as “Hansard at his most engaging”. Didn't He Ramble was produced by Thomas Bartlett (The National, Sufjan Stevens), a frequent collaborator of Hansard's, and Grammy winner and former Frames band-mate David Odlum (Paloma Faith, Tinariwen). The album, which was recorded in New York, Dublin, Chicago and France, is Hansard's most intimate and elegant record since his work in Once and features guest appearances by John Sheahan (Dubliners), Sam Beam (Iron and Wine) and Sam Amidon. Glen Hansard is the celebrated principal songwriter and vocalist/guitarist for the influential Irish group The Frames.

17 years old Sangaile is fascinated by stunt planes. She meets a girl her age at a summer aeronautical show. Sangaile allows Auste to discover her most intimate secret and in the process finds the only person that truly encourages her to fly.

Murphy is an American living in Paris who enters a highly sexually and emotionally charged relationship with the unstable Electra. Unaware of the effect it will have on their relationship, they invite their pretty neighbor into their bed.

Deep Purple are an English rock band formed in Hertford in 1968. The band is considered to be among the pioneers of heavy metal and modern hard rock, although their musical approach changed over the years. Originally formed as a progressive rock band, the band shifted to a heavier sound in 1970. Deep Purple, together with Led Zeppelin and Black Sabbath, have been referred to as the "unholy trinity of British hard rock and heavy metal in the early to mid-seventies". They were listed in the 1975 Guinness Book of World Records as "the globe's loudest band" for a 1972 concert at London's Rainbow Theatre, and have sold over 100 million albums worldwide…

Scaled smaller than 2012's double-album Privateering, Tracker also feels suitably subtle, easing its way into being instead of announcing itself with a thunder. Such understatement is typical of Mark Knopfler, particularly in the third act of his career. When he left Dire Straits behind, he also left behind any semblance of playing for the cheap seats in an arena, but Tracker feels quieter than his new millennial norm. Some of this is due to the undercurrent of reflection tugging at the record's momentum. Knopfler isn't pining for the past but he is looking back, sometimes wistfully, sometimes with a resigned smile, and he appropriately draws upon sounds that he's long loved. Usually, this means some variation of pub rock – the languid ballad "River Towns," the lazy shuffle "Skydiver," the two-chord groove of "Broken Bones" – but this is merely the foundation from which Knopfler threads in a fair amount of olde British folk and other roots digressions. This delicate melancholy complements echoes of older Knopfler songs – significant stretches of the record are reminiscent of the moodier aspects of Brothers in Arms, while "Beryl" has just a bit of the "Sultans of Swing" bounce – and this skillful interweaving of Knopfler's personal past helps give Tracker a nicely gentle resonance.